Musical beds is the faculty sport around here.

I don't pay much attention to how the plays relate thematically to each other. I think that's very dangerous to do, because in the theater one is self-conscious enough without planning ahead or wondering about the thematic relation from one play to the next. One hopes that one is developing, and writing interestingly, and that's where it should end, I think.

If a man writes a brilliant enough play in praise of something that is universally loathed, the play, if it is good and well enough written, should not be knocked down because of its approach to its subject.

There's always the danger that there are so damn many things that a playwright can examine in this society of ours - things that have less to do with his artistic work than have to do with the critical and aesthetic environment - that perhaps he does have to worry about whether or not he is writing too fast. But then also, perhaps he should worry about getting as many plays on as possible before the inevitable ax falls.

A playwright, especially a playwright whose work deals very directly with an audience, perhaps he should pay some attention to the nature of the audience response - not necessarily to learn anything about his craft, but as often as not merely to find out about the temper of the time, what is being tolerated, what is being permitted.

Who's Afraid of Virginia Woolf?

Good writers define reality; bad ones merely restate it.